みんなのきもち (Minna-no-kimochi) are the trailblazing
crew leading a Post-Trance Renaissance in Tokyo. 

Alongside their label, Mizuha 罔象みんなのきもち
(Minna-no-kimochi) have crafted an infectious, high-energy
signature style that focusses on deconstructing 90s trance music
and 2010s EDM – setting fresh with a contemporary post-club interpretation. In their words, call it a “collective hallucination with structure, driven by a chemical groove”.

Their 2023 livestreams set the world
ablaze, racking up over 500k views in one month, now they are touring globally. We’re excited to bring them to AVA, a place where their sound will resonate with generations old and new. Dive into the mix and our Q&A below. 

What was your mindset going into this AVA Mix?

We’ve always been against making something that feels simply nostalgic or “timeless.” Trance revivalism is cultural necrophilia—it’s the most violent thing that’s ever happened to trance. It freezes the genre in place, embalming it for mass consumption, and in doing so, kills it over and over again. That’s exactly the cycle we reject the most. In this mix, we’ve included some classic trance tracks—but not as tribute. It’s an epic misuse, meant to unravel the bloated symbolic weight trance has come to carry.

Tell us a bit about your journey so far and what’s been part of your process

We started Minna-no-Kimochi in Tokyo, throwing secret raves in coastal areas and warehouses. In 2023, a Boiler Room set we dedicated to Tohji and the scene around him brought global attention to us. Since then, we’ve shifted toward a more international presence, touring across the world.

Whether it’s DJing, organising raves, or running our label, it’s all part of the same process: dismantling trance across multiple layers and creating new coordinates for it outside the usual circuits.

Is there a moment or track in this mix that feels like a reflection of where you’re at creatively right now?

Toward the end of the set, there’s a mashup of Patrice Bäumel’s Roar and Erik Luebs’ Facing the Horizon. For us, that moment captures exactly what we’re trying to do—it’s a direct dismantling of trance’s symbolic weight. The form is there, but it’s been unstitched and reassembled into something unstable, something unfamiliar.

What is the type of vibe or atmosphere you try to bring into each of your sets?

Not just pleasure—something unstable, suspended between dream and collapse. A kind of collective hallucination with structure, driven by a chemical groove.

It’s your first time playing in Belfast this year. What are you hoping to experience while you’re here both on and off stage?

We’ll start by walking through the city. Once we see the streets, it becomes easier to imagine the floor.

What’s coming up next for you after AVA?

We have tours across Europe in July, and again in September and October. In August, we’ll be back in Tokyo, hosting our own parties and reconnecting with the local scene.

What would be your best tip for upcoming artists?

We’re still upcoming artists ourselves, so we’re figuring things out too. But one thing we keep telling ourselves is: don’t follow visibility—build your own coordinates.